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|Sample page from The Art of Pixar: The Complete Color Scripts|
Wellcome Collection has opened a major new exhibition exploring the relationship between graphic design and health. The show is curated by graphic designer Lucienne Roberts and educator Rebecca Wright, programme director of the Graphic Communication Design course at Central Saint Martins, who together founded publisher Graphic Design&. It features 200 objects spanning packaging, posters, signage, brand identities, flags, and more, highlighting "the widespread and often subliminal nature of graphic design in shaping our environment, our health and our sense of self".
Boasting spectacular views of the Parliament building, this attic apartment in the heart of Budapest was renovated by Margeza Design Studio. The two bedroom unit spans 110 square meters (approx. 1,184 square feet) over two floors in a building that dates back to 1928 and is finished off with the studio's signature minimalist aesthetic.
White surfaces and polished white floors, paired with large windows, keep the space filled with light. A curated collection of colorful furniture and furnishings are displayed throughout for a vibrant and playful feel. Yellow armchairs from the 1980s rest alongside a custom white rug that's a map of Budapest with the Danube river displayed in blue.
The living room benefits from a living green wall, adding a bit of nature to the mostly white interior. It's even hooked up to an automatic irrigation system so little-to-no maintenance.
The custom designed Corian stairs house tons of storage for kitchen appliances, including the microwave, wine cooler, and washing machine.
Photos by Erdőháti Áron.
Albert Gleizes (French, 1881-1953)
Cubist Views of Brooklyn Bridge, 1915-1917
Melbourne-based Gemma Mahoney might still be studying her bachelor's degree in communication design but her portfolio speaks the graphic design language of fully fledged professional.
The first step is learning how to do it. Finding and obtaining the insight and the tools and the techniques you need. Understanding how it works.
But step two is easily overlooked. Step two is turning it into a habit. Committing to the practice. Showing up and doing it again and again until you're good at it, and until it's part of who you are and what you do.
Most education, most hardware stores, most technology purchases, most doctor visits, most textbooks are about the first step. What a shame that we don't invest just a little more to turn the work into a habit.
Who says magazines are dead? The London-base Eye has other ideas. It continues to find new ways to make printing a magazine a unique experience. Known for its striking covers, this current cover design for issue #94 is unprecedented. Each of the edition's 8,000-copy print run is bound with a unique, individually numbered cover, designed by Paul McNeil and Hamish Muir, and based on their typefaces TwoPoint and TwoPlus.
The latest edition of Eye is a type special but the multiple "collect all 8,000" conceit is pretty unusual. Printed by Pureprint Group in Uckfield, East Sussex, the covers were created on the HP Indigo 10000 digital press using a variable data program called Mosaic. The remainder of the magazine was printed offset lithography. The Mosaic program supplies a different image file for each pass of the press, each derived in this case from a number of 'seed' files supplied by MuirMcNeil that repeat the letters of the word eye. Mosaic makes it possible to resize, rotate and change the color of the artwork, cropping it to make each cover unique.
Studio Moross has directed a video for Mind Enterprises' track Idol, packing a distinctly retro vibe. Accompanying the synth-heavy single, the garish visuals combine photography and animation with some slick styling, creating a video with an aesthetic that pays tribute to Italian 70s TV animations and design. The Mind Enterprises website has also been designed to follow the theme of the video.
Color mishaps in paintings usually stem from using too many colors or combining paints that don't really work well together. However, alleviate both of these issues in one quick and simple fix: a compatible triad.
If three colors don't give you the results you want, you can add another color that shares their intensity, transparency and tinting strength without presenting a sour note into the color harmony. What's more, you may even find new combinations that work with the unused colors cluttering your paint box.
To get you in the right tune, here are six color palettes to explore, featured in the 30th Anniversary Edition of Exploring Color Workshop by artist Nita Leland. Then try creating your own exciting triads. Enjoy!
Delicate tinting colors — aureolin, cobalt blue and rose madder genuine — make an exquisite high-key triad, limited in contrast and beautifully transparent.
In watercolor, the colors are nonstaining, easily lifted and extremely useful as glazes. Although they're pure, bright colors, they all have relatively weak tinting strength.
Flowers are delightful subjects for the delicate high-key palette, but there are other options, too. How about a misty river scene or a soft portrait?
Light-filled landscapes also are successful with these colors, but you can't make strong darks with them. Powerful darks would destroy the delicacy and subtlety of this palette.
Used carefully and sparingly, burnt sienna is a good addition to the palette, because it enables you to increase your range of darks slightly.
Transparent, high-intensity colors of great tinting strength — such as Winsor lemon, phthalo blue (red shade) and pyrrole red — make a versatile triad.
This daring palette can range from dramatic, bold statements featuring rich, intense darks to sensitive, elegant images using delicate tints. The value range runs the gamut from the lightest light to the darkest dark.
These dynamic colors generate energy, brilliance and sharp contrast in any subject, including cityscapes, landscapes, portraits and flowers. Non-objective or abstract compositions can be dazzling with this intense triad.
The transparency of these colors makes them useful as glazes when well diluted, but their staining property merits a word of caution: They can't be lifted easily once they're dry.
The traditional palette is a combination of high-intensity, transparent and opaque colors with intermediate to strong intensity strength. Its workhorse colors are found on almost every artist's palette: new gamboge, French ultramarine and cadmium red.
New gamboge lends some transparency to the mixtures. French ultramarine is semitransparent. Cadmium red is very opaque. Many artists think of this palette as muddy, but it features a wide range of values.
This is an ideal palette for natural subjects: the olive greens of trees and grasses; the subtle violets of shadows; beautiful browns; and earthy yellows. You can dilute mixtures for high-key paintings, but they lack the subtlety of a high-key palette.
Even with its limitations, this is a very useful palette, particularly if you supplement the traditional triad with other colors, such as permanent alizarin crimson, to improve its transparency in mixtures.
The early masters were limited in their color choices and used colors much like the ones in this palette: raw sienna, Payne's gray and burnt sienna. This palette of values and intermediate tinting strength yields low-intensity, semitransparent mixtures.
It's surprising how many artists fall in love with the Old Masters' palette when they try it. Its subtlety is sublimely moving and highly effective. Any genre works well, but the colors are particularly well-suited for portraits, autumn florals and landscapes.
With burnt sienna and Payne's gray substituting for red and blue, violet mixtures don't exist. Instead, a good dark takes its place. The greens and oranges are low key and mysterious.
This is the only time I recommend using Payne's gray on your palette as a color in its own right and not as a quick fix for adding darks to a painting.
If you're looking for unique expression, the opaque palette is a sure way to get it — but it's tricky. The mixtures are subtle and distinctive. Colors for this wheel are yellow ochre, cerulean blue and Indian red.
While cerulean blue seems a bit bright for a low-intensity palette, its density and opacity allow it to fit right in. Indian red has a stronger tinting strength than the other two colors, but they all seem to work well together.
Extreme darks are impossible, but you can get dark enough to have effective value contrast. The limited color range of the mixtures makes it interesting.
Work on a wet surface with the colors, laying them in with a big brush and then leave them alone. If you try to move the colors around, you'll make instant mud and disturb the granulating effects of the colors.
Paint rocks, buildings and landscapes with this palette, and don't bypass portraits and flowers as intriguing possibilities.
This is my personal favorite among the low-intensity triads. The bright earth palette has powerful tinting strength and is beautifully transparent. With this palette, you can achieve extremes of value from bright lights to powerful darks.
Using quinacridone gold, indigo and brown madder, you're forfeiting violet. But if you need it, you can tweak the color in your painting by including a brighter red or blue that will yield a violet mixture.
Color mixtures of the bright earth palette are more transparent and somewhat brighter than those of the Old Masters', but still rather low in intensity.
Paint colors in this palette result in distinctive portraits and abstract landscapes, but it's effective for almost any subject matter.
Keep in mind, because brown madder and indigo are staining colors, you won't be able to do much correcting with this lively earth palette.
In the comments below, tell us which of these six color palettes inspires you. Or, share some of your own color triads. Happy painting, artists!
The post You Don't Want to Miss Out on These 6 Color Palettes appeared first on ArtistDaily.
LA-based Slowdown Studio just launched Season Seven of their limited edition, artist-designed blankets with the latest designs by Oakland-based artist and musician Chaz Bear, aka Toro y Moi frontman and head of Company Studio. The pair of blankets, Emerson and Barrett, puts forth Bear's graphic abilities, which have always played a pivotal role in his endeavors but might not have been as widely known as his musical pursuits. As with previous collections, each blanket is made in the USA out of 100% cotton that's grown, spun, and woven in North Carolina.
Emerson boasts an eye-popping wavy pattern in primary colors along with black dots on a white background.
Barrett is a graphic, black and white pattern featuring a Brancusi-inspired figure surrounded by four colors.
It's August which means it's time for students to be heading back to school. Starting a new year, especially in college, can be daunting so you definitely want to make sure you're prepared, and more importantly, organized. To help out, we rounded up ten must-haves for those students heading off to campuses worldwide.
1. Urbio Happy Family Kit 2. Poppin Super Stacked Bundle 3. Golden Ratio Finder by Parsons and Charlesworth for Areaware 4. LED Task Lamp from Modern by Dwell Magazine 5. Colorblock Gel Pen Set by Poketo 6. Pantone Chip Drive USB Flash Drive 7. 2018 Leather Ardium Light Planner 8. To-Do Adhesive Notes by Russell and Hazel 9. Rundle Backpack from Herschel Supply Company 10. Black White Grid Laptop Sleeve by Beautiful Homes for Society6
During a trip in Micronesia, to the Pingelap and Pohnpei islands, Sanne De Wilde shot a colorless world. Indeed, after a natural catastrophe, only the king and some inhabitants staid alive. However, the king was affected by a rare illness called achromatopsia. Since he had a lot of children, he transmitted this characteristic to a large part of the population. Achromatopsia consists in a difficulty to distinguish colors. De Wilde explores this strange world by using shadows and infrared lights creating a surprising and poetic project.